My Bloody Valentine: Isn't Anything 1988 + Loveless 1991

 

My Bloody Valentine are one of those bands that come across as so strangely enigmatic to outsiders, so

gravely decisive to newcomers and yet so adored as well to their fans. They are, after all, considered one of the twentieth and twenty-first centuries' greatest musical acts...It's difficult to fathom a band that announced their magnum opus in as dramatic a fashion as My Bloody Valentine did.
                    

My Bloody Valentine, the seminal shoegaze band, was formed in Dublin in 1983. Colm Ó Cíosóig and

Kevin Shields moved from Ireland to Berlin in 1984 where they recorded their first mini-album, This Is Your Bloody Valentine, with keyboardist Tina and vocalist Dave Conway. Tina left soon after the album was released. On their way back to London, in 1985, they encountered Debbie Googe, who became their permanent bass player.
                   

Original vocalist Dave Conway left after February 1987's Sunny Sundae Smile / Paint a Rainbow / Kiss the Eclipse / Sylvie's Head EP. Thanks to new vocalist/guitarist Bilinda Butcher's contributions, August 1987's Strawberry Wine / Never Say Goodbye / Can I Touch You EP stands as the first 'real' My Bloody

Valentine record. November 1987's Ecstasy EP soon followed. 1988 saw My Bloody Valentine team up with Creation Records for a full-length album, Isn't Anything, and a host of accompanying EP material. Their distinctive musical style, airy yet heavily distorted, was imitated by quite a few English bands in the years to come, and was called 'shoegaze' by the British press, because such bands' guitarists would be gazing at their effect pedals for entire shows.
                  

Loveless was the group's masterpiece, and as an incredibly complex album, way ahead of its time. Unfortunately, it had also been incredibly expensive to record - Loveless almost bankrupted Creation Records, according to some sources. My Bloody Valentine went on an extensive tour, nicknamed 'Rollercoaster', in late 1991. The concerts were extremely loud and chaotic experiences, with long

passages of noise, blending into the songs. My Bloody Valentine promised the new album wouldn't take as long to record as Loveless, and signed a record deal with major label Island. Shields and Ó Cíosóig became increasingly interested in contemporary electronic music, and this supposedly had its influence on their never-released material too. Kevin Shields had always been a perfectionist, and this may have led to an alleged breakdown somewhere in late 1993, causing him to become increasingly erratic and withdrawn.
                       

Debbie Googe, broke and tired of waiting, left the band in 1995 to form Snowpony with her girlfriend

(ex-Stereolab keyboardist Katharine Gifford), and recording on the Loveless follow-up supposedly ceased around 1997. There are believed to be up to two unreleased post-Loveless albums, and the group have never officially announced they have split. The classic four piece line-up resurfaced in 2007, with the following year's sold-out tour. The fourth album, m b v, was released in February 2013.
                   

MY BLOODY VALENTINE - ISN'T ANYTHING 1988

                                

Though it's often seen as just a precursor to their magnum opus Loveless, in its own way My Bloody

Valentine's Isn't Anything is nearly as groundbreaking as their 1991 masterpiece. Not only was it the most lucid, expansive articulation yet of the group's sound, it virtually created the shoegazing scene and spawned legions of followers. The album's tightly structured songs still bore traces of My Bloody Valentine's previous incarnation as jangly indie popsters, but Kevin Shields and company crafted wide-ranging experiments within those confines.
                  

"Feed Me with Your Kiss"'s mix of bruising guitars, drums, and sensual boy-girl vocals define My

Bloody Valentine's signature sound, while "All I Need"'s weightless guitars and vocal melodies melt into a heady haze. Shields' unique tunings, tremolo, and miking techniques stand out on "You Never Should" and "Nothing Much to Lose," but Deb Googe's surprisingly funky bassline on "Soft as Snow (But Warm Inside)" reaffirms that all of the Valentines contributed to their innovative sound.
            

Indeed, many of Isn't Anything's disturbingly beautiful highlights come from Bilinda Butcher. On the

wrenching "No More Sorry," she sings abstractly pained lyrics like "Your septic heart and deadly hand/Loved me black and blue," barely audible over a swarm of fragile yet menacing guitars, while on "Several Girls Galore" she's sexy, yet dazed and distant; it sounds like she's whispering in your ear outside of a blaring nightclub.
(By Heather Phares)
               

My Bloody Valentine – Isn't Anything
Label: Sire – 9 45231-2, Warner Bros. Creation Records – 9 45231-2
Format: CD, Album, Reissue Jun 15, 1993
Country: US
Released: 1988
Genre: Rock
Style: Indie Rock, Shoegaze

TRACKS

                  

01. Soft As Snow (But Warm Inside)   2:21
Words By – C. O'Ciosoig, K. Shields
02. Lose My Breath   3:37
Words By – B. Butcher
03. Cupid Come   4:29
Words By – B. Butcher
04. (When You Wake) You're Still In A Dream   3:18
Words By – C. O'Ciosoig
05. No More Sorry   2:47   3:04
Words By – B. Butcher
06. All I Need   3:54
Words By – K. Shields
07. Feed Me With Your Kiss   3:54
Words By – K. Shields
08. Sueisfine   2:12
Words By – K. Shields
09. Several Girls Galore   2:20
Words By – B. Butcher
10. You Never Should   3:22
Words By – K. Shields
11. Nothing Much To Lose   3:17
Words By – K. Shields
12. I Can See It (But I Can't Feel It)   3:12
Words By – K. Shields

LINE - UP

                 

Kevin Shields – guitar, vocals
Bilinda Butcher – guitar, vocals
Colm Ó Cíosóig – drums
Deb Googe – bass

Flac Size: 252 MB

MY BLOODY VALENTINE - LOVELESS 1991

                     

Isn't Anything was good enough to inspire an entire scene of My Bloody Valentine soundalikes, but Loveless' greatness proved that the band was inimitable. After two painstaking years in the studio and

nearly bankrupting their label Creation in the process, the group emerged with their masterpiece, which fulfilled all of the promise of their previous albums. If Isn't Anything was the Valentines' sonic blueprint, then Loveless saw those plans fleshed out, in the most literal sense: "Loomer," "What You Want," and "To Here Knows When"'s arrangements are so lush, they're practically tangible.
                  

With its voluptuous yet ethereal melodies and arrangements, Loveless intimates sensuality and sexuality instead of stating them explicitly; Kevin Shields and Bilinda Butcher's vocals meld perfectly with the trippy sonics around them, suggesting druggy sex or sexy drugs. From the commanding "Only

Shallow" and "Come in Alone" to breathy reflections like "Sometimes" and "Blown a Wish," the album balances complexity and immediately memorable pop melodies with remarkable self-assurance, given its difficult creation. But Loveless doesn't just perfect the group's approach, it also hints at their continuing growth: "Soon" fuses the Valentines' roaring guitars with a dance-inspired beat, while the symphonic interlude "Touched" suggests an updated take on Fripp and Eno's pioneering guitar/electronics experiments.
                     

These glimpses into the band's evolution make Shields' difficulty in delivering a follow-up to Loveless even more frustrating, but completely understandable -- the album's perfection sounded shoegazing's

death-knell and raised expectations for the next My Bloody Valentine album to unreasonably high levels. Though Shields' collaborations with Yo La Tengo, Primal Scream, J Mascis, and others were often rewarding, they were no match for Loveless. However, as My Bloody Valentine fans -- and, apparently, Shields himself -- will attest, nothing is.
(By Heather Phares)
               

My Bloody Valentine – Loveless
Label: Sire – CD 26759, Warner Bros. Creation Records – CD 26759
Format: CD, Album
Country: Canada
Released: 1991
Genre: Rock
Style: Alternative Rock, Shoegaze, Noise Rock

TRACKS

            

01. Only Shallow   4:17
Lyrics By [Words] – Bilinda Butcher
Music By – Kevin Shields
02. Loomer   2:38
Lyrics By [Words] – Bilinda Butcher
Music By – Kevin Shields
03. Touched   0:56
Music By – Colm O'Ciosoig
04. To Here Knows When   5:31
Lyrics By [Words] – Bilinda Butcher, Kevin Shields
Music By – Kevin Shields
05. When You Sleep   4:11
Written-By – Kevin Shields
06. I Only Said   5:34
Written-By – Kevin Shields
07. Come In Alone   3:58
Written-By – Kevin Shields
08. Sometimes   5:19
Written-By – Kevin Shields
09. Blown A Wish   3:36
Lyrics By [Words] – Bilinda Butcher
Music By – Kevin Shields
10. What You Want   5:33
Written-By – Kevin Shields
11. Soon   6:58
Written-By – Kevin Shields

LINE - UP

                           

Bass – Debbie Googe
Drums, Sampler – Colm O'Ciosoig
Guitar, Vocals, Sampler – Kevin Shields
Vocals, Guitar – Bilinda Butcher

Flac Size: 303 MB

Talk Talk: The Colour Of Spring 1986 + Spirit Of Eden 1988

 

British synth pop / art rock band founded in 1981 in London and disbanded in 1991. The group had a

string of international hit singles including "Talk Talk", "Today • It's So Serious", "It's My Life", "Such A Shame", "Life's What You Make It" and "Living In Another World". They moved away from synth-pop to a more experimental form with the album The Colour Of Spring in 1986, and their critical reputation increased. Their final two albums, Spirit Of Eden (1988) and Laughing Stock (1991), are highly acclaimed and remain influential to experimental alternative rock genres.
                    

With Simon Brenner out, Tim Friese-Greene was recruited to assist with the recording of their second

album It's My Life (1984) and he soon became the band's producer and de facto fourth member. He played keyboards and became Hollis' frequent songwriting partner, co-writing all the songs on The Colour Of Spring (1986), Spirit Of Eden (1988) and Laughing Stock (1991). Although a major contributor to the band's studio output, Tim Friese-Greene did not regularly play with the touring band, and was absent from the band's publicity material.
                      

Joined by producer and keyboardist Tim Friese-Greene in 1983, the band began to experiment with jazz and classical influences, at times evoking late-60's psychedelic explorers CAN and PINK FLOYD.

With a cut-and-paste style of production, Hollis and Friese-Green utilized recordings of many and diverse guest musicians to create atmospheric compositions of startling uniqueness. By the early 90s, the band's internal pressures and total lack of record company support (added to their refusal to do interviews, make videos, or even tour regularly) led Hollis to venture out on his own, where he continued to explore music in its most abstract and minimalist forms, until his death in February 2019.
                  

TALK TALK - THE COLOUR OF SPRING 1986

                       

This would be the last 'pop' influenced TALK TALK album. Hollis had begun to follow his

musical calling.This is where the real magic started, but it's not always easy to find. The 'modern' pop sound of the 80s dominates this album, albeit at a level of creativity that most synth-pop or new romantic bands never approached. The raw, articulate desperation and spirituality is becoming more apparent, on "Happiness is Easy", "I Don't Believe in You", and "Living in Another World". "Life's What You Make It" is a classic pop song, sounding much less dated than one would expect.
                   

The true herald of the band's imminent breakthrough is the shifting, otherworldly beauty of "April 5th"-

a hushed precursor to the unique opus to come in the following two albums. The simplicity of the songs and Mark Hollis's voice make this album just incredible," Mr. Wright had explained to Record Collector magazine. "The first tune, 'Happiness Is Easy', says it all--nothing but a bass, a snare and a weird chord. That's Talk Talk all over, great songs and simplicity with a twist ...
                        

Talk Talk – The Colour Of Spring
Label: Warner Music Group – none
Format: CD, Album
Country:
Released: Sep 3, 2014
Genre: Rock, Pop
Style: New Wave, Synth Pop

TRACKS

                       
                    

 
01. Happiness Is Easy    6:31
02. I Don't Believe In You    5:03
03. Life's What You Make It    4:30
04. April 5th    5:52
05. Living In Another World    6:59
06. Give It Up    5:18
07. Chameleon Day    3:21
08. Time It's Time    8:17

BONUS TRACK

09. It's Getting Late In The Evening    5:50

LINE - UP

Mark Hollis / lead vocals, guitar (8), keyboards (1), organ (4), piano (3,5-7), Mellotron (6), melodica (8), Variophon synth (4,7), cello (1)
Paul Webb / bass (2,5,6,8), backing vocals (3,5)
Lee Harris / drums, percussion

WITH:

Tim Friese-Greene / piano (1,2,4,8), organ (3,6,8), Mellotron (3), Kurzweil electric piano (1), Variophon synth (4,7), producer
Robbie McIntosh / guitar (1,2,5), dobro (4,6), acoustic guitar (8)
David Rhodes / guitar (3,5,6)
Ian Curnow / keyboards
Steve Winwood / organ (1,2,5)
David Roach / soprano saxophone (2,4,5)
Mark Feltham / harmonica (5)
Alan Gorrie / bass (1)
Danny Thompson / acoustic bass (1)
Gaynor Sadler / harp (2)
Martin Ditcham / percussion (1,3,5,6,8)
Morris Pert / percussion (1,2,5,8)
Phil Reis / percussion (1)
Children From The School Of Miss Speake / chorus vocals (1)
Ambrosia Choir / chorus vocals (8)

Flac (24 bit/96 khz) Size: 1.02 GB

TALK TALK - SPIRIT OF EDEN 1988

                  

Completely removed from the pop crowd hang-over and synth-driven work they were so well

known worldwide for, TALK TALK reversed the tide with this release. This album contains no syth work, but instead relies totally on the organ and the piano. The "Spirit Of Eden" is very involved and delicate music which explores some pretty heavy aspects of life. At the time of recording, Hollis insisted on using only the original instruments in recording this very personal album.
                       

Acoustic guitar, double bass, mexican bass, trumpet, clarinet, bassoon, violin, oboe and the choir of

Chelmsford Cathedral help create the most captivating musical landscape you have ever experienced. The study of this album would be the study of sound and Hollis and Co. make it of primary mission here to challenge the listener.
                           

Talk Talk – Spirit Of Eden
Label: Warner Music Group – none
Format: CD, Album
Country:    
Released: Mar 9, 2014
Genre: Rock
Style: Abstract, Post Rock, Ambient

TRACKS

                   

01. The Rainbow    8:05
02. Eden    7:39
03. Desire    7:00
04. Inheritance    5:18
05. I Believe In You    6:10
06. Wealth    6:42

BONUS TRACK

07. John Cope    4:44

LINE - UP

Mark Hollis / vocals, piano, organ, guitar
Paul Webb / electric bass
Lee Harris / drums

WITH:

Tim Friese-Greene / harmonium, piano, organ, guitar, producer
Robbie McIntosh / dobro, 12-string guitar
Mark Feltham / harmonica
Henry Lowther / trumpet
Andrew Stowell / bassoon
Michael Jeans / oboe
Andrew Marriner / clarinet
Christopher Hooker / cor Anglais
Nigel Kennedy / violin
Hugh Davis / "shozygs"
Simon Edwards / Mexican bass
Danny Thompson / double bass
Martin Ditchman / percussion
Chelmsford Cathedral Choir / chorus vocals (5)

Flac (24 bit/96 khz) Size: 861 MB

Talk Talk: The Party Is Over 1982 + It's My Life 1984 on Urban Aspirines HERE
Talk Talk: The Ultra Collection 2005 on Urban Aspirines HERE

Ty Segall & Mikal Cronin: Reverse Shark Attack 2012

 

TY SEGALL

                              

Ty Garrett Segall (born June 8, 1987) is an American multi-instrumentalist, singer-songwriter and

record producer. He is best known for his solo career, during which he has released fifteen studio albums alongside various EPs, singles, and collaborative albums. Segall is also a member of the bands Fuzz, Broken Bat, the CIA, GØGGS, and Wasted Shirt. He is a former member of the Traditional Fools, Epsilons, Party Fowl, Sic Alps, and the Perverts.
                 

Working as a solo act and in a number of bands and side projects, Ty Segall has released dozens of albums that have helped to define and establish the parameters of garage punk for his generation. Not

content to stick to one specific style or sound, he's also ventured into hard rock, folk-rock, and heavy metal, used instruments ranging from synthesizers to xylophones, and made solo records played on acoustic guitars. No matter the sonic setting, Segall's strong melodic frameworks, creative restlessness, and the infectious intensity of his songs and performances are the constants in his ever-evolving discography.
              

MIKAL CRONIN

                  

Michael "Mikal" Patrick Cronin (born December 26, 1985) is an American musician and songwriter.

He has released four solo albums and several singles. Cronin was a member of the bands Okie Dokie, The Oh Sees, Epsilons, Party Fowl and Moonhearts, and is a regular and longtime member of Ty Segall's live band, contributing bass guitar, backing vocals and saxophone; he has also released an album and a single in collaboration with Segall. Cronin earned his Bachelor of Fine Arts in music from California Institute of the Arts.
                 

Singer, songwriter, and multi-instrumentalist Mikal Cronin cut his musical teeth playing bass in garage punk bands and became a trusted and long-running member of Ty Segall's band; on his own he crafted

music that was garage rock-inspired while also leaning toward power pop with a bit of folk-rock added for good measure. After two albums that honed this sound into something hooky and sleek, he looked to classic rock for inspiration on 2015's MCIII, and by the time of 2019's slickly produced and intricately arranged Seeker, Cronin was making music that sounded huge and mature, with almost no garage rock in its DNA.  

                       

REVERSE SHARK ATTACK 2012

                       

Rust never sleeps and neither does Ty Segall. The Bay Area garage sensation has been known for his prolific nature, constantly releasing several albums a year under his own name, along with endless collaborative side projects and one-offs. Reverse Shark Attack originally materialized in 2009, a short

eight-song team-up between Segall and one of his longtime friends and co-musicians, Mikal Cronin. Though the album's brief running time is well under half an hour, it's a strangely arranged and distributed track listing. Six incredibly trashy garage rockers speed by in a matter of minutes, all drenched in fuzz with a malfunctioning analog delay unit going berserk on processed vocals. The sound is more that of a four-track in a practice space with all the knobs turned to ten than any subtleties of a recording studio.
                      

The songs are spontaneous, fiery, and fun. While nothing reaches the heights of inspiration of Segall's more widely known solo albums, unhinged tracks like "High School" and "Doctor Doctor" are enjoyable blasts of blown-out garage punk merriment. The album takes a strange turn near the end with a surprisingly precise cover of the early Pink Floyd track "Take Up Thy Stethoscope and Walk,"

followed by the ten-minute title track, a distorted collage of kitschy psyche, low-lit acoustic folk moments, and surfy noise. Reverse Shark Attack is a loose, carefree collection of insane sounds. You get the sense that it was a lot of fun to make and there probably weren't a lot of second takes or arguments in the studio about getting a perfect guitar tone. Equal parts tossed-off riffs and bizarre experimentation, the album sounds like two friends having a blast and letting us look in on the process.
(By Fred Thomas)
                       

Ty Segall & Mikal Cronin – Reverse Shark Attack
Label: In The Red Recordings – ITR229
Format: CD, Album
Country: US
Released: 2012
Genre: Rock
Style: Garage Rock
                                   

TRAXS

                

01. I Wear Black
02. Drop Dead Baby
03. High School
04. Ramona
05. Doctor Doctor
06. Bikini Babes
07. Take Up Thy Stethescope And Walk (Written-By – Pink Floyd)
08. Reverse Shark Attack

NOTES

Written-By – Mikal Cronin (tracks: 1 to 6, 8), Ty Segall (tracks: 1 to 6, 8)

Flac Size: 189 MB